The numerically titled sequel is an old-fashioned notion, traditionally held to indicate a lack of imagination on the part of the filmmakers. Still, at least you know where you are with a number, and these days – with all the Beyonds and Begins and Returns – it may even suggests a certain honesty. The Incredibles was the sixth Pixar film and the superhero family are among their most beloved characters: below Woody and Buzz certainly, but maybe neck and neck with Nemo. This follow up film allows fans to experience again all the pleasure they got from the first one, but without feeling exploited or used. It's the same again, but with feeling and heart; a film to give the number 2 a good name.

2 starts right where 1 finished, with the emergence of The Underminer (Pixar lucky charm John Ratzenberger) in his massive drill and an action sequence involving the whole superhero family, even if it is just to fight over who gets to babysit little Jack-Jack. Superhero activity is still illegal but a corporation headed by brother and sister pair (Odenkirk and Keener) have a plan to get the law changed. This involves Elastigirl (Hunter) going out and being heroic while Mr Incredible (Nelson) stays at home with the kids. The other main focus this time is the emergence of baby Jack-Jack's superpowers.

The first film, with its mission to a villain's island lair, was probably more enthralled with 60s Bond movies than men in tights epic. (You Only Live Twice is generally held to be a middling 007 instalment, but it is always the template for any send up.) This time, while keeping the 60s setting, the focus if more on superheroes. When the first Incredible appeared in 2004, films about caped crusaders hadn't taken over as they have since. Which is possibly a problem. Watching the two Incredibles films back to back would offer a very clear demonstration of just how far computer animation has come in the last 14 years and the sequel uses all those advances to produce action sequences that often don't seem much different to those in "live action" adventures.

Writer/ director Brad Bird appears to be a man fuelled by a resentment that the promises of flying cars and clean metallic cities offered by pre-dystopian fifties and sixties sci-fi haven't come to pass. I guess we're all a bit disappointed by that (Twitter is a poor substitute) but he really seems to have taken it to heart. That was the theme of his previous film Tomorrowland, while the first instalment of Incredibles had a strong message about people with abilities being held back by the mediocrity and the need for equality. (If he'd been born a generation earlier he would have had himself a fine old career making films about the threat of Godless communism.) Here the message is about how people will settle for ease over comfort and the lazy, passive way we suck up entertainment, and the world. The villain Screenslaver has a line about how Superhero movies are part of a process of replacing meaningful real experiences with simulations. This is both a subversive and ironic message for a film that is giving people almost exactly what they want and a studio that used to challenge us but is increasingly content to just regurgitate past glories. Next up from Pixar is Toy Story 4 which swapped release dates with this and will now appear next year.